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8/9/2019 Hwanho Choi - The New Wave of Independent Labels Dissertation
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University of Liverpool
The New Wave of Independent Labels
By
Hwanho Choi
Department of Music
2009
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Acknowledgement
I am sincerely grateful to Dr. Mike Jones for his supervision, guidance and valuable
suggestions throughout the development of this dissertation.
I should also thanks interviewees, Adam Crammond (Proc-Records), Filipe Cruz (Enough
Records), Marc Martinez and McStrum (The Dejunair Project), Peppermill Records, Fool
House and Laurent Kratz (Jamendo). Their thoughtful insights were invaluable to my
research and are deeply appreciated.
It is pleasure to thank those who made this dissertation possible.
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Main Objective/Research Question
This research focuses on independent record companies and the digitisation of music.
There will be two main dimensions to the study. Firstly, how independent record labels are
conducting their business given changes in the structure of the recording industry that flow
from digitisation. The second concerns itself with how the aesthetics associated with
independently-produced music are expressed in an era in which the ongoing digitisation of
information and communication technology (ICT) has become central issue in terms of the
ways popular music is consumed.
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Table of Contents
1. Introduction ............................................................................................................................1
2. Objective ................................................................................................................................3
3. Methodology ..........................................................................................................................4
4. Literature Review ...................................................................................................................5
4.1. Independent Music ..........................................................................................................5
4.2. DIY Aesthetic and Independent Music ...........................................................................6
4.3. SWOT Analysis of Independent Music ..........................................................................8
4.4. The Internet and Its Impact on Independent Music .......................................................11
4.5. Latest Trends, DIY Aesthetic and Independent Labels .................................................12
5. Main Body ...........................................................................................................................15
5.1. Personal Interests and Non-Profit Motives ...................................................................15
5.2. Independent and Major Issues .......................................................................................17
5.3. Open Deals, Policies and Creative Freedom .................................................................18
5.4. Collaboration .................................................................................................................20
5.5.The Debate about Intellectual Property .........................................................................21
5.6. The Future Paradigm of the Music Industry .................................................................23
6. Discussion ........................................................................................................................... 25
7. Conclusion ...........................................................................................................................28
Bibliography ............................................................................................................................29
Appendix ..................................................................................................................................33
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Spencer, 2005). Simonelli points out that
‘The punk subculture in Britain was the most outspoken effort to restore working-
class values in Britain rock and roll in the late-1970s. Punk rock articulated the
frustrations of working-class British youth in an era of unemployment and
inflation, through the development of a new subculture, manifested in music,
fashion and attitude’ (2002, p. 121).
Punk music was also developed as a counteraction to corporate rock music, which was far
from the reality of the audiences’ lives. At that time, British society was hit by economic
recession. Corporate rock music was not able to reflect the social conditions and distress of
the youth (Simonelli, 2002). However, punk music, which expressed anger and political
opinions, became a new cultural movement for the youth who were seeking for a way to
express their identity.
The birth and development of Internet technologies have caused a big change in the
music industry. This change has affected not only the production and distribution, but also the
consumption, of popular music. The Internet has become a popular medium of
communication, connecting artists and audiences, and making it possible for consumers to
share ideas and opinions about popular music. What we once did in off-line places such as
pubs or cafes can now be done online, and unlimited numbers of people, including musicians,
can work together from places around the globe (Jones, 2002; Spencer, 2005).
These changes have affected the structure of the music industry. The monopoly status of
major labels has been threatened, causing them to try to find a way to overcome the
difficulties caused for them by this turbulent era. For instance, they have sued individuals who
download MP3 files and developed new forms of copy protection technology (Hervey, 2002;
McCourt and Burkart, 2003; Curien and Moreau, 2005; Gopal et al. 2006; Liebowitz, 2006;
Sweney, 2008). In addition, the music industry is now keen to make “360 degree” contracts
with musicians, which cover areas such as concerts, sales of merchandise and digital markets,
aiming to recover revenue lost through illegal downloading (Leyshon et al., 2005). Although
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major labels have blamed illegal file sharing for their problems, various researchers have
suggested that their lack of in-depth evaluation of changing business environments and of
audiences’ tastes are more to blame (Fox, 2004; Bishop, 2005; Leyshon et al., 2005; McLeod,
2005). What they have done to defend their market power is fairly limited in scope, as they
have not taken into account and examined the needs of their audiences.
On the other hand, technological advances have brought opportunities for independent
labels. Although it is questionable whether they can prosper and expand their status in the
music industry solely as a result, it has been pointed out that they enjoy advantages such as
reduced distribution and marketing costs because of the Internet (Fox, 2004; McLeod, 2005;
Wallis, 2006). The independent music offers alternative and marginalised forms of music
from the mainstream music industry. They are important in that they support creative freedom
through their DIY aesthetics, whereas artists at the major labels are limited and controlled by
them.
2. Objective
This paper will examine how independent labels conduct business in rapidly changing
and challenging environments that have been driven by the Internet; it will discuss how a
distinctive philosophy of independent music, the do-it-yourself (DIY) approach, which was
sparked in the 1970s punk music in the UK, can be expressed in the present which the Internet
has become an important tool. The Internet environments can be beneficial for the indie
labels, but there is a lack of empirical research. Therefore, it would be valuable to look at the
real circumstances. It would also be interesting to evaluate whether the traditional approaches
that the independent labels take, in terms of management and aesthetics, are still valid or not.
Concerns about intellectual property have been widely discussed and new forms of
intellectual property, such as a creative commons, have been proposed. Therefore it would be
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beneficial to assess that how this could work and what its impact would be. Research will be
developed through the evaluation of prior materials on indie music and the music industry in
the internet era, and through e-mail interviews with independent labels which conduct their
business mainly on the Internet. The main focus of this research will be:
- To evaluate the status of the independent labels and their approaches, in terms of the
ways the labels are managed in this swiftly changing period, and in terms of how their
current state relates to their past experiences.
- To identify whether changes in the conduct of independent record companies have
produced, or are taking advantage of, changes in conceptions of intellectual property.
- To establish the growth points of new business models in the independent record
company sector.
3. Methodology
This research was conducted via six interviews from Internet-based independent labels
and firms. These interviews were done through e-mails and asked seven or eight questions,
which were developed to analyze how Internet-based independent sectors share similar
experiences and aesthetics with past independent music scenes. In addition, past researches
was compared to and analysed in light of the new wave of independent sectors.
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4. Literature Review
4.1. Independent Music
Independent labels have been suffering from an inability to secure distribution channels.
They would like to have an equal chance of getting their records into shops. Because they
were forced to use the majors as distributors, there was a belief that the majors would not
work as hard to encourage retailers to accept independent records as they would their own.
Without a secured distribution channel, it was difficult to reach audiences because
traditionally the place to buy music was in retail shops. With regard to this difficulty, Jones
argues that ‘the most critical monopoly held by the music industry was the means of
distribution’ (2002, p. 217). ‘In the 70s, record distribution was entirely controlled by major
companies. Even early independent labels like Virgin and Island had no alternative but to
hand over their distribution to the likes of EMI or CBS’ (BBC, 2009). It was obvious that
records had to be distributed with the support of major labels. The concern with distribution
channels is still a significant issue for independent labels. Recently, independent labels have
faced severe problems due to the collapse of Pinnacle, an independent distribution channel
(Taylor, 2008). This crisis indicates that the condition of independent labels is still fragile and
emphasises the importance of securing a distribution channel for independent labels.
Although independent labels in the 1970s were considered to serve alternative forms of
music, and often represented counteraction of corporate record labels to express their own
identities, in the 1950s, independent labels were another form of corporate record labels to
make revenue. According to Gillett (1996), in the 1950s, independent labels, which were
started up by businessmen, saw rock music as a commodity and were even scornful towards
the actual music. Independent labels in the 1950s, when rock music emerged, were focused
on how the new form of music could generate revenue; they targeted a niche youth market
while major labels were concentrated on jazz-oriented music.
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However, it was punk that counteracted the dominance of major labels. When Rough
Trade was open in West London, it signified an important new musical movement, punk
(BBC, 2009). One of punk music’s distinctive features was that musicians had do-it-yourself
attitudes. According to Frith (1997), punk, which was against corporate recording labels,
represented its credibility in two ways. The first is that it championed independently produced
and distributed recordings. Secondly, it promoted a notion that ‘anyone can do it’ (1997, p.
168). The DIY aesthetic of punk was also well represented by self-published fanzines such as
Sniffin’ Glue, which were a tool to communicate for subculture communities and helped to
establish punk identity and political movement (Triggs, 2006).
What happened to popular music and the music industry in the 1970s can be revived in
the 21st century. Leeds points out that ‘there are new signs that a democratization of music
made possible by the Internet is shifting the industry’s balance of power’ (2006). Due to the
characteristics of the Internet, it is possible to bypass a distribution channel dominated by
major labels. Online environments offer marketing, distribution and production can be done
without the participation in offline activities, which have traditionally been considered crucial
concerns. This environment can offers labels the possibility to operate without large amounts
of funds and support from big corporations. Anyone can start online music labels, distribute
music and do marketing through their own websites or the Internet communities. Therefore,
the new technological advances can offer opportunities for independent labels to explode
DIY aesthetics and their creativity as in the 1970s (Fox, 2004; Graham et al., 2004; Burkart,
2005; McLeod, 2005; Andrews, 2006; Leeds, 2006).
4.2. DIY Aesthetic and Independent Music
One of the distinctive features of independent music would be the DIY aesthetics of the
1970s, as mentioned previously. This aesthetic can be described as a form of alternative
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expression through which music can be produced and distributed independently. It is the self-
expression of like-minded people who feel that music should be judged on its creativity and
authenticity, rather than on the amount of money spent, the number of instruments used or
excessive emphasis on performing skills (Rosen, 1997; Szatmary, 2004; Davies, 2005;
Spencer, 2005).
Moore mentions that ‘within punk subcultures, the process of creating independent
media and interpersonal networks in opposition to the corporate media is referred to as the
“do-it-yourself”, or DIY, ethic’ (2004, p. 307). These aesthetics were born through the
reactions of the independent labels to the majors, who at the time were enjoying success
through their promotion of progressive stadium rock bands and disco music (Szatmary, 2004;
Davies, 2005; Spencer, 2005). Triggs also states that ‘punk music was seen as an alternative
to the mainstream music industry and provided something new and liberating through its
independent and “do-it-yourself” approaches’ (2006, p. 70).
The DIY activities in the 1970s could be utilised by people who were interested in
independently produced music and by musicians who could show their capability from the
emerging new culture. One of the important initiatives was Rough Trade, which became a
critical place for 1970s independent music. Their success as a record shop led to the
development of an independent distribution channel, the Cartel. The establishment of
distribution channels for independent music gave momentum to and allowed for the explosion
of independently produced music. This offered independent music the chance to have a
secured distribution channel and expand its market share. It would ensure that the large
demand for the emerging musical culture could be delivered to audiences (Hesmondhalgh,
1997; Hesmondhalgh, 1999; BBC, 2009; Rough Trade, 2009).
Though music can be produced and distributed through independently minded activities
and strategies; it offers that popular music activities can be operated from outside of the
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traditional music industry hegemony. According to Hesmondhalgh, ‘as the majors oriented
their distribution channels to the high street chains, small shops increasingly turned to a new
sector of independent wholesalers and distributors who moved in on the new gap in the
market’ (1997, p. 258). The independent distribution channel could offer music that could not
be distributed by major labels and has resulted in much more diverse musical expression.
Therefore, it can be an alternative arena for music that is marginalised and ignored in the
mainstream music industry. In addition, the practice of the DIY aesthetic is important for the
autonomy and musical freedom of artists. For instance, bands like Desperate Bicycles and
Scritti Politti reported how much they spent on recording on the album’s sleeve notes. It
showed the audiences that producing music is not expensive and ‘anyone can do it’ (Rosen,
1997; Davies, 2005). People of DIY independent scenes often feel that successful indie
musicians lose their creativity when they move to a major label (Strachan, 2007).
4.3. SWOT Analysis of Independent Music
Strength
One of the strengths of independent labels is that they are quick to respond to emerging
musical culture. In addition, their aim to niche genres or a specified genre gives them a
distinctive position within the music industry. (Lee, 1995 a and b). Moreover, members of the
independent scene have set up barriers around themselves and developed an alternative
system, so as to survive and maintain their distinctiveness (Hesmondhalgh, 1997 and 1999
and Rosen, 1997). Two examples of this would be the creation of alternative distribution
channels and the use of alternative contracts for musicians. Setting up an alternative
distribution channel is an inevitable step for the indie scene to stand against the mainstream
music industry. This challenge would also ensure that their products can be stocked in shops.
The distribution channel for independent music was indicated by the rise of specialist shops
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that formed their own record label. In addition, this change encouraged new independent
labels. The alternative deal would show musicians that they are not just accessories for a
company to use to produce revenue. It would offer freedom for musicians and foster their
creativity (Hesmondhalgh, 1997; Rosen, 1997; Hesmondhalgh, 1999; BBC, 2009).
Weakness
Although the distinctiveness of independently produced music can guarantee some level
of creativity in the music, it does not guarantee its success. Independent labels have suffered
from a lack of management skills, and must maintain their creativity to survive in the music
industry (Lee, 1995 a and b; Hesmondhalgh, 1997). In addition, alternative contracts, which
attracted indie musicians, became a critical concern because there was no obligation for
artists in terms of length of contract or numbers of records. For instance, artists like Stiff
Little Fingers left Rough Trade to sign with a major label shortly after they gained popularity,
while they were still working with Rough Trade (Rosen, 1997; Hesmondhalgh, 1997; BBC,
2009). This problem led to fail to achieve future success of independent labels and partially
related with lack of management skills, although they thought it would be a tool for
autonomy, creative freedom and mutual trust. According to Rosen, ‘the smaller label was thus
deprived of the chance to benefit further from the band’s success, which it had helped nurture.
A commitment to autonomy can thus sometimes undermine itself’ (1997, p. 7).
Opportunity
Independent labels are well situated for forming a community and making use of their
distinctiveness as a cultural form. According to Lee, ‘one central element of Wax Trax’s
ideology of independence was a sense of community’ (1995 b, p.26). Hesmondhalgh also
mentioned that ‘the history of punk suggests that when a genre gains special subcultural
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credibility, a particularly active audience is created’ (1998, p. 237). Therefore, independent
labels, which are aimed at specific audiences and markets, can be critical pioneers within a
community to cultivate new ideas and subcultures. Forming a community and fostering a new
cultural movement can be a critical force to gain momentum for independent music. This
collective identity of independent music can also increase indie labels’ competitiveness or
self-protectionism. Strachan (2007) suggests that collectivism, which is a ‘central defining
feature of identity for DIY independent practitioners’ (Strachan, 2007, p. 252), among micro-
independent labels is a way to compete with major labels.
Threat
They are threatened by mergers brought about by the major labels, who often regard
their creative and alternative music as a threat. In these cases, major labels with vast amounts
of capital have bought out independent labels, which are considered a valuable income
source. This also happens due to the imperatives of remaining a viable business. In addition,
dealing with major labels is considered a crucial way to gain mass popularity (Frith, 1981;
Lee, 1995 b; McCourt and Rothenbuhler, 1997; Hesmondhalgh, 1999). A once emerging
musical genre could also become a popular genre that major labels would be involved in. This
has been normal procedure, as has been observed in genres such as punk and industrial music
(Davies, 2005; Lee, 1995 b). Therefore, indie labels should keep their creativity to attract
audiences and to keep management capability from threats of major labels. Another threat can
be emerging new culture. For instance, British punk music lost its popularity as a sub-cultural
form when rave and dance music gained popularity (Hesmondhalgh, 1999; BBC, 2009). In
addition, economic influence can be another threat to the independent music scene. As
mentioned before, Pinnacle’s crisis hit the independent music scene hard (Taylor, 2008).
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According to Hesomndhalgh, the economic recession between 1988 and 1992 negatively
affected the independent music scene (1999).
4.4. The Internet and Its Impact on Independent Music
Rough Trade was a particularly successful UK post-punk independent label. It signed
many influential acts and for several years was one of the key components of the independent
distribution company The Cartel. However, Rough Trade lost many of its most successful acts
to major labels, and found it difficult to succeed as a business as its small operation did not
have the expertise or investment it needed to survive. The company went bankrupt in 1991
(Hesmondhalgh, 1997; BBC, 2009; Rough Trade, 2009). Even so, the ideals it represented
continue to be influential throughout the independent sector and these can be seen to have
influenced the Internet-only independent companies that are the focus of this study.
The new Internet business environment offers another chance for independent labels.
The Internet has flourished as a place for people to talk, interact and exchange information.
Websites like MySpace have become a central place for audiences and musicians to come
together. Online communities have been created to share information about music, and to
spread information about unknown artists (Dolfsma, 2000; Kibby, 2000; Ebare, 2005; Leeds,
2006). Audiences and musicians are able to be active participants in the music industry,
without intervention from media outlets or major labels. Therefore, it can be argued that the
democratisation of the music industry initiated through the DIY movement is now being
realised online. According to Spencer, ‘it is advances in technology that has allowed bands
access to their own means of production … This further breaks down any division between a
band and its audiences’ (2005, p. 349). In addition, cyberspace favours the feature of
independent labels that Strachan calls ‘collectivism’ (2007, p. 252), a strategy used to
differentiate them from, and to confront, the major labels.
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The Internet is removed from traditional distribution channels, which have been
controlled by the major labels (Fox, 2004 and 2005; Graham et al., 2004; McLeod, 2005).
Therefore, independent labels now have advantages that were not previously available to
them. The power of the music industry can shift, from the music labels to consumers (Fox,
2004; Graham et al., 2004; Leeds, 2006). The power transition from labels to audiences has
an important implication. Consumers will gain authority, in that they can choose music in a
diverse, unmediated manner. This creates possibilities for independent labels to gain market
power in ways unavailable to them within traditional business models. Curien and Moreau
pointed out that ‘P2P networks reduce entry barriers in the music industry by decreasing
distribution costs as well as favouring a better access to consumers for artists who do not
belong to star-system’ (2005, p. 19). Lee mentions that indie labels are ‘more likely to pick up
on emerging musical trends and bring them to market quickly’ (1995 b, p. 13). This factor can
be a competitive force within a market where consumers’ tastes are changing rapidly.
4.5. Latest Trends, DIY Aesthetic and Independent Labels
Lee, who examined the independent label Wax Trax, mentions that
‘Small label operators may need to turn away from musical genre and
fundamentally rethink the process of music production and distribution. Perhaps
the cyberspace of the Internet holds as music potential for redefining record
company identity as it does for altering music production and consumption
practices’ (1995 a, p. 60-61).
One of the Internet’s characteristics is that it can connect musicians and audiences directly.
Kibby pointed out that ‘an electronic place in which to “gather” enables a direct link between
fans, and even makes possible a direct connection between fans and performers’ (2000, p.
91). For instance, John Prine, who left a major label and then set up his own record label,
exploited the potential of the Internet. The experiments of John Prine’s Oh Boy Records,
which opened a chat room, brought some commercial benefits and showed that it can be a
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significant initiative to form a musical community (Kibby, 2000). The importance of
interactions on the Internet between musicians and audiences has been proven by cases such
as Arctic Monkey and Clap Your Hands Say Yeah (Hanley, 2005; Harley, 2006; Strachan,
2007; Rogers, 2008). Rogers states that ‘The internet communities and peer-to-peer file
sharing that helped make Arctic Monkeys known have fostered a revolution, helping scenes
to flourish without the need for big-money marketing campaigns or focus groups’ (2008). The
importance of buzz on the Internet has also been suggested by Styven (2007). The author
points out that buzz marketing of intangible products such as MP3s can be reliable because
past experiences can guarantee the product’s reliability and stimulate future sales.
Due to the easy access of the Internet, labels can even be started online. For instance,
Fool House was started by bloggers who shared ideas about music. The label signs music
rather than artists, choosing what fits in with their identity and projects (Collins, 2009). In
addition, many things which cannot expect before is going on the Internet. For example,
audiences can make mix tapes with available sound samples (Muxtape); customers can invest
money in unsigned artists (Sellaband and Slicethepie); and unsigned musicians sign with a
label or a company that is operating on the Internet, which adopts new Intellectual Property
concepts such as Creative Commons, and offers music for free (Jamendo). It certainly shows
that the Internet is very volatile and offers unexpected opportunities.
The independent labels’ efforts to offer a variety of music have received positive
feedback. Rogers states that ‘now the drivers of the record industry are small, maverick labels
that define trends and launch careers’ (2008). Although major labels blame declining physical
sales on illegal file sharing, independent musicians and labels have been keen to take
advantage of the Internet and even give away their music for free. Musicians such as Crimea
offer their new albums for free and labels such as !K7, the home of Quiet Village, offer
samplers for free. Some acts, such as Wilco, have achieved increased sales as a result of
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illegal file sharing. Acts who give away their music look at file sharing as a way to reach
audiences and gain additional revenue from performances and merchandise (Mansfield,
2004). Although major labels are reluctant to give away their music, some music industry
personnel understand its potential. For instance, Brian Message who manages Faithless and
Radiohead, says that ‘free music is a valuable part of the artist proposition. If we need to get
into a market where we don’t have a base, we can do something with free music to stimulate
interest’ (Perrone, 2009). In addition, as was mentioned before, the Internet allows the
bypassing of traditional distribution channels, which has been a critical concern for
independent labels and musicians. Fox says that
‘Digital technologies and the Internet have radically altered the value chain for the
music industry in a number of ways that reduce costs and barriers to entry. Among
other things, this shift provides many more opportunities for independent music
labels to diminish the major labels’ historical hegemony over traditional
distribution methods’ (2005).
The environment of the Internet can be a place for reviving DIY aesthetics. It can
guarantee artistic freedom and autonomy, which was championed by independent music in
the 1970s. Pfahl argues that, through giving away music and through online communities,
‘ultimate creative control will belong to them (musicians) and true artistic ability will return
to music’ (2001). The author’s comment seems a bit optimistic, but the Internet can certainly
offer various possibilities for the use of creativity, and can help maintain the success of
independent labels and musicians. Kasaras points out that ‘new technologies provide the
“weapons” for artists to fight and regain creative control over the content. This freedom also
allows artists to control their own intellectual properties rather than surrender them for
marketing and distribution costs’ (2002). Therefore, success of independent labels and
musicians will depend on their creativity and innovation in terms of business models and
music, and their capability for exploding their creativity as another cultural form and
movement.
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5. Main Body
5.1. Personal Interests and Non-Profit Motives
Various people involved with independent music labels comment that they started the
label to share their ideas, to share music they like, and to produce and share music under their
own terms.
‘I started proc-records back in August of 2007 as a way to bring new ideas and
concepts together, without any restrictions on the audio whatsoever (aside from it
needing to fit the 'electronic' genre in some way). Before then, I had been
producing music and releasing it on other net-labels and I found it frustrating at
times to try to base my work around their criteria’ (Interview with Adam
Crammond, 23 February 2009).
[To explain why the label was started:] ‘partially as a winter hobby, back in late2004. And partially so I could take the democratic net label Soulseek Record's
idea of collaborative, sequential musical projects and evolve it, inviting many of
my favorite artists to take part’ (Interview with Peppermill Records, 8 March
2009).
Independent labels starters also emphasise the influence of their personal interests:
[Explaining the reason for the start up:] ‘…because we were doing a blog and
were frustrated to just put some great tunes out in the Internet. We needed to add a
bit more meaning, to extract it from the quantity and to add something of our loveto these tunes’ (Interview with Fool House, 18 March 2009).
The importance of personal interest affects policy in terms of releasing music.
‘If I would like to listen to it again in the future, I’m willing to release it. If I think
it has some fundamental flaws, which would annoy me from listening to it, again I
refuse the release. We have no pre-defined aesthetic line, just our taste in music
and chance of demos we receive’ (Interview with Filipe Cruz, 6 March 2009).
In addition, people who release music on an Internet-based label are doing so as a hobby to
express their artistic identities. This was recognised in a work by Strachan, who interviewed
DIY independent label owners, and commented that ‘running a label is seen as an area of an
individual’s life untouched by the ‘compromising’ demands of work and commerce that they
may experience in other aspects of their lives’ (2007, p. 256).
Independents acknowledge this, themselves:
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‘A lot of the people who release music, not only here but elsewhere too, work full
time jobs, go to school, raise families, etc. essentially normal people, facing
normal problems and doing something that they love to do...express themselves
through art of sight and sound’ (Interview with Adam Crammond, 23 February
2009).
Sometimes business related issues are criticised because the aim of running the label is
purely based the starter’s artistic interests, and for fun as is mentioned here, ‘as I do this for
the fun and art of things, the business side takes the enjoyment out of running my own
label’ (Interview with Peppermill Records, 8 March 2009). The problem with business related
matters is well known from the experiences of such labels as Rough Trade and Wax Trax!,
who suffered from lack of management skills (Hesmondhalgh, 1997; Lee, 1995 a and b). But
the fact that labels are run for fun and as an art form can be easily observed: they are not
doing it to earn money. It is also related to what Strachan calls ‘recognition’ (2007, p. 255).
‘We always managed to run non-profit and without resorting to spam techniques.
We do our thing and hope people will care to return once they discover us. Once
we include it in our catalogue we will keep providing it for free to everyone and
will refuse to stop distributing it. We’ll do this always under a non-profit
regime’ (Interview with Filipe Cruz, 6 March 2009).
These reasons for starting a label - personal interests, fun, artistic freedom and
recognition - can be explained by what Strachan describes as ‘personal satisfaction and
engagement’ (2007, p. 250). Label owners make a huge personal investment into their label
but the commercial aspect is relatively unimportant to them. In addition, Strachan suggests
they have a sense of ‘separation’ (2007, p. 252) from the music industry. Their ideological
position makes them want ‘to share good or interesting music with other people, promote the
work of some friends while at it, and avoid release bureaucracies for my own
projects’ (Interview with Filipe Cruz, 6 March 2009).
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5.2. Independent and Major Issues
The personnel of Internet-based independent labels are concerned about their lack of
marketing resources. This problem is related to their not-for-profit origins: as one
interviewees said, ‘we realize a non-profit part-time hobby cannot do the same kind of
marketing as the music industry’ (Interview with Filipe Cruz, 6 March 2009). Strachan notes
the label’s awareness of their business scale limitations, suggesting that it is rooted in
‘economic uncertainty’ (p. 250), but it also has to do with participants’ goals. Traditionally,
independent labels have been regarded by many bands as a stepping stone to signing for a
major label. As mentioned before, bands such as Stiff Little Fingers, who first signed with
Rough Trade left for a major label after gaining popularity (Hesmondhalgh, 1997). However,
this has changed, since musicians involved with the Internet-based independent labels have
different goals. Their concerns are related to self-fulfillment and artistic freedom more than
major label deals and financial returns, and they have other sources of finance.
‘Artists who release on netlabels typically have other sources of income to sustainthem … and therefore do not necessarily rely upon selling their artistic ability for
success. Also, people measure success differently. An album on a net label that has
had thousands of downloads and positive feedback can be much more rewarding
[than] selling thousands of albums and only receiving moderately positive
reviews. Music and art should (in my opinion) be kept away from money as much
as possible’ (Interview with Adam Crammond, 19 March 2009).
Many independents believe that musicians who sign with a major label suffer from
limited or restricted musical creativity. Such bands are often criticised on they basis that they
become a cog in the corporate machine (Strachan, 2007). The view in terms of being a major
label’s artist is still valid as one of interviewee mentions that
‘If you don't mind being a bit of a tool for corporate profits, it's a good way to get
exposure and make some money. Just don't let it change who you are, and get out
before it's too late. The superstars wouldn't be better off of course, but that's such a
tiny percentage of "acts" anyhow that it's almost insignificant. Actual artists, for
the most part, I think are much better off with independents’ (Interview withPeppermill Records, 8 March 2009).
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In addition, one interviewee criticised current commercial trends on the Internet, arguing for
the value of a do-it-yourself attitude.
‘You see new projects like Sellaband trying to take economic advantage of that
current hype, most of the projects registered in there will never make it to putting
out a disc, the few that do will most probably never be big enough names, they
could've just as easily (in my opinion at least, others disagree) … built up their fan
base support directly. Most bands accomplish this by getting their hands dirty,
booking their own concerts, handling the promotion, producing the merchandise,
own investment, which is a lot nicer [than] to just delegate to someone else to
handle and rip the profits but most of the times it doesn’t get done right by the
label/promoters. so in retrospect its better to get good connections to delegate the
concert booking and promo to a (or several) trusting concert promoters, and ask a
friend with an online shop to handle your merchandise for you, and so on, then to
haggle with a major over money due for these things (or with an indie who usually
doesn’t have as much capital and free time to invest in handling all these things
properly)’ (Interview with Filipe Cruz, 19 March 2009).
However, there is a view that it depends on an artist’s goals. Martinez says,
‘I think it largely depends on the goals of the band in question, and is something
that each act must determine for them. Those who value retaining the publishing
rights for their music may have an easier time for that with an independent label.
For those that wish to target commercial radio airtime, it seems like the major
label is a necessary path (at least here in the USA, situation may be different
abroad). And for some, having access to higher quality studio facilities and
personnel will be a tipping point in the major's favor’ (Interview with Marc
Martinez, 23 March 2009).
5.3. Open Deals, Policies and Creative Freedom
Traditional independent deals, such as the equal sharing of labels like Rough Trade, are
still found among the Internet-based independent labels. As Fool House states, ‘we share a
fair percentage of the all the sales after recouping our expenses. But we try and have the
biggest liberty as possible with the songs we release’ (Interview with Fool House, 18 March
2009)
However, most of the Internet-based independent labels which participated in this
research do not pursue economic gains. Therefore, they can offer great freedom and flexibility
in terms of deals, intellectual property rights and policies. Many express the view that musical
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outcomes, being dependent on the artists, belong to the musicians: the independent labels see
themselves simply as aggregators.
‘If you want to reuse your tracks for some other project or release of yours
(commercial or non commercial), that’s perfectly fine as long as no one will come
ask us to remove the track from our catalogue. If someone else wants to use your
tracks for something, or remix it and distribute it (commercially or non-
commercially) they need to contact you directly and ask for your explicit
permission’ (Interview with Filipe Cruz, 6 March 2009).
Another interviewee has an even more open policy.
‘Since day one, proc-records have been completely devoted to allowing artists to
express themselves as genuinely as possible. By doing so, I feel that the music is
much purer and more personal. The work released here inherently belongs to the
artists that release it with us. We are simply a means of getting it heard by the
world. If at any time the artist wishes to remove their work from us in an effort to
release it on a "major" label, they have the right to do so. People are free to
download the work and to share it with others, so long as the track file
information is left completely intact. It can also be played in nightclubs, on radio
stations, and even be remixed by others, so long as complete original credit is
given to the original artist’ (Interview with Adam Crammond, 23 February 2009).
The importance of personal interest, the key reason for starting an independent label in
the first place, is reflected in their attitude to controlling intellectual properties.
‘It is hoped that credit will be given where due but in the end it’s just out there for
anyone to do with what they want. Maybe someday it will come back to us in
some way but if not its just awesome to have the technology and be able to put
something we created out on the net for millions to have access to all with just two
guys handling all areas from the website design/server admin down to recording
each individual track for each song’ (Interview with Marc Martinez, 17 March
2009).
It is observed that there are significant changes in terms of deals and rights ownership. As the
Internet is open to all it allows everyone to create or participate in new ways of expressing
musical and artistic creativity. Financial returns are not a significant concern, although it
cannot be said that the labels are entirely uninterested as they target niche markets, offering an
alternative route for delivering marginalised musical forms an audience. However, this is
more demonstrative of their concern to allow personal artistic expression and to deliver or
share it with as many people as possible. Fisher predicted this, stating that ‘the opportunities
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available to new artists and to bands that appeal to “niche” markets would increase rapidly
through widespread adoption of the new technology’ (2000). This seems to be the Internet-
based labels’ desire:
‘Comparing to the archaic music industry record label model, we don’t restrictreleases to what will be more popularly accepted, we want to promote diversity
and let the artists themselves figure out where they stand in relation to their music
and their listeners’ (Interview with Filipe Cruz, 6 March 2009).
5.4. Collaboration
The Internet’s main distinction is its accessibility for communication with an unlimited
number of people. Information can be easily shared. This has made collaboration by people
who do not live or work in the same areas (or even countries) possible. This is also related to
the low-cost technologies which have enabled the development of home-studios. This process
– home production and collaboration - can be a step to co-creating new value. Ebare points
out that ‘the related convergence of home recording and other music-making practice with
home computer technologies herald even more numerous points of contact between music
production and consumption’ (2005). This do-it-together process is apparent from a comment
made by Marc Martinez:
‘I joined the project to gain experience with mixing, to see my ideas join with
other's work (hopefully to become greater than the sum of its parts), and as an
experiment in distributed collaboration. Keep it available in digital format for free
and also not mandatory but recommended is to share some or all of the individualtracks of material from music pieces so others can possibly create something new
and share it. We hope to entice other locally available musicians to sit in and
record, widening the available palette for new material’ (Interview with Marc
Martinez, 17 March 2009).
This can be described by what Kelly calls ‘power comes from abundance’ (1997) in contrast
to past conditions, under which scarcity and inaccessibility increased value.
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A final product can be produced through collaboration rather than depending on one artist
for an entire album. Internet based-labels recognise the benefits of, and their own suitability
for, producing and promoting collaborated works:
‘Actually another big benefit would be the cross-promotion. We have such a highvariety of genres and anti-genres represented, and most just contribute one short
track per project, that it's a simple way to be heard by a new audience. We're not
the best for an artist looking to release an entire album of their own, but perfectly
suited to put out collaborative things’ (Interview with Peppermill Records, 8
March 2009).
Co-creation and collaboration is not limited to on-line, but occurs in the local scene in off-line
events to promote the artists’ works and alternative forms of music.
‘Organizing compilations of specific genres and organizing release parties helps
thrive the local scene. We also try to support external event promoters who believe
in our projects and have assisted in organizing local festivals for alternative and
experimental types of music’ (Interview with Filipe Cruz, 6 March 2009).
As previously noted, Strachan describes ‘the ethic of collectivism’ a central to the identity of
the independent labels, in contrast to a ‘perceived hegemonic mainstream.’ He states that ‘by
actively encouraging the involvement of a larger number of individuals, practitioners are
attempting to demystify the popular music process, and open up access to it’ (Strachan, 2007,
p. 252).
5.5. The Debate about Intellectual Property
Intellectual property rights have been actively discussed, particularly after the
development of MP3, file sharing, and peer to peer sharing. Critics suggest that the current
intellectual property laws cannot cover what is going on the Internet. Lessig argues that,
‘The question should not be how to regulate the internet to eliminate file sharing.
The question instead should be how to assure that artists get paid, during this
transition between twentieth-century models for doing business and twenty-first-
century technologies’ (Lessig, 2004, p. 298-299).
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During the intense debate, new concepts, such as Creative Commons (CC), have been
developed. Most of the not-for-profit labels that participated in the interviews had adopted
this concept. One interviewee said
‘This is a great way to protect the artist. For many, many years people have beentrading music to be heard by others on various formats (most notably through
cassette tape, though currently CD-R seems to the most widely accepted way),
without any way to keep it from appropriately getting "leaked" or heard by others.
With the advent of the Internet, people have found a new way to get their art seen
or heard by a much larger and direct audience. Creative Commons is an excellent
way (and by far the most respectful way) of keeping the music free and protects
people on both sides of the industry, artist and listener alike! :)’ (Interview with
Adam Crammond, 23 February 2009).
The CC license concept permits some freedom for people to access and use CC licensed
works, without waiving copyright. The level of freedom can be set by the person who licenses
the work (Lessig, 2004). Lessig says of the CC license,
‘The aim is not to fight the “All Rights Reserved” sorts. The aim is to complement
them. The problems that the law creates for us as a culture are produced by insane
and unintended consequences of laws written centuries ago, applied to a
technology that only Jefferson could have imagined’ (Lessig, 2004, p. 284).
The author (2004) also recognises that the benefit of adopting a CC license is that it helps to
spread contents. For example, Cory Doctorow’s book was released off-line under CC license,
and the strategy was successful. Rens also notes that ‘Creative Common licensing offers a
new way, especially when it is combined with digital technology that makes the creation of
identical multiple copies fast, cheap and easy’ (2006). Another benefit, according to Lessig
(2004), is that sampling becomes easier and cheaper. This then presents an opportunity for
musicians who create music from existing works.
However, there are concerns that CC licensing is too complex, and that it is just another
form of a concept that does not provide much flexibility.
‘To much jib jab for me, I see it simply as we created this, here it is now listen to it
or don't but here it is’ (Interview with McStrum, 17 March 2009).‘It is an unfortunate state of affairs that modern copyright law requires such
elaborate mechanisms to express the above sentiment. Perhaps I spend too much
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time with the Free/Libre-Open Source Software crowd, but Intellectual Property
law and concepts really give me a headache, I much prefer to just work on my
code or music and pass things along to anyone that inquires’ (Interview with Marc
Martinez, 17 March 2009).
In addition, one individual, although highly positive to the CC concept, expressed concern
that as technology now offers such a comfortable route to participation in, it will become
increasingly difficult to be heard by public and benefit from you do.
‘But with how technology has made music, and soon filmmaking, much easier for
anyone with some amount of creativity to create, things will never be as they used
to be, even once society has become comfortable with digital purchasing. Because
it takes new techniques to filter through the massive amount of media being
promoted online. I highly approve of this new overabundance, it's just a bit
frustrating for smaller labels to cut through and let others know what we're up
to’ (Interview with Peppermill Records, 8 March 2009).
5.6. The Future Paradigm of the Music Industry
The on-line environment offers extraordinary opportunities for change and
experimentation. Activities such as marketing and distribution can be done much more
conveniently and cheaply than in the past. McStrum says,
‘I see it in a massive shift in many new directions, from Napster to iTunes, now
YouTube and so many more online avenues for artists, do huge promotional
campaigns for nearly nothing more than access to the Internet’ (Interview with
McStrum, 17 March 2009).
In addition, Peppermill Records suggest that
‘The industry in general will I think embrace the digital age to a much largerextent than it already has. They'll move farther away from "albums" I think, and
focus more on "singles", packaged together in threes, or maybe EP's’ (Interview
with Peppermill Records, 8 March 2009).
Digital revenue has increased from 0.4 billion dollars in 2004 to 3.7 billion dollars in 2008,
and the market share of digital music has also increased, from 2% in 2004 to 20% in 2008.
Sales of single tracks in the UK have also increased dramatically. 110 million single tracks
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were sold in 2008, up 42% from sales in 2007 (IFPI, 2009). One of interviewee anticipates a
significant decline in physical products, such as CDs.
I believe that music online will turn into a system in which you pay a monthly fee
to be able to stream songs in high quality with no extra charges, and that the artists
will be retributed [sic] like with radio airplay. And that physical music will return
to vinyl and small structures (Interview with Fool House, 18 March 2009).
CC concepts are expected to be widespread in the independent music scenes, as another
interviewee noted that ‘Creative Commons will become more accepted by the indie music
scene. Labels might go more towards a combination of free CC releases and paid
releases’ (Interview with Peppermill Records, 8 March 2009).
There is also an opinion that the current music industry is doomed as it is mentioned that
‘[the] music industry will eventually collapse on itself. The business model will shift even
further to the online models of self managed artist labels using e-commerce to
strive’ (Interview with Filipe Cruz, 6 March 2009). This occurrence is what Pfahl (2001)
asserts will allow musicians to gain creative control. The author suggests that ‘free downloads
will drive demand for an artist’s music, which will drive demand to see the performer live in
concert’ (2001).
Paying fair royalties for public performance of music has experienced difficulties: the
issue was selected as one necessitating a new business model because the current system does
not guarantee value to musicians or licenser (IFPI, 2009). One of interviewee understood the
issue well, commenting,
‘in 2009, we will [be] selling music license "by the flow". We help restaurants,
bars, grocer stores, dentists waiting rooms, hotel lobbies, and many others, to
reduce the cost for commodity music, and to avoid invoices from collecting
societies like ASCAP or BMI’ (Interview with Laurent Kratz, 24 February 2009).
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6. Discussion
This research, which has conducted seven interviews, shows how the music industry's
independent sectors operate in new technological environments. In addition, it shows how
recent trends are related to independent labels' experiences.
First, the research covers the reasons that Internet-based independent labels were started
and how they are operated. This research has made apparent that running independent labels
on the Internet is based on people's personal interests, fun, and pursuit of creative freedom
and recognition, which past research on and experiences with independent music scenes
discussed. Specifically, the matter of creative freedom has been related to debates between
major and independent music. This is one reason that the do-it-yourself aesthetic has
influenced independent music scenes. In addition, factors such as personal interests and fun
are similar to the fanzine phenomena in the punk era. Therefore, independent labels on the
Internet share similar characteristics, objectives and inspirations with past independent music
practices, but within new technological environments.
Second, the Internet-based independent labels’ perspectives in terms of major and
independent characteristics have been discussed. Many independent labels still see major
labels as marginalizing musicians' creative freedom, and true artistic fundamentals as coming
from the do-it-yourself aesthetic. In addition, these labels are aware of their limitations in
terms of business-related issues, which previous research already discussed. However, people
have different attitudes because the activities on independent music scenes are part-time jobs
or hobbies. The people who are involved with independent music on the Internet have
different objectives from those of mainstream musicians, such as creative freedom and easier
exposure to unlimited audiences. One of the assets of the Internet environment is that music
can be exposed and distributed much more conveniently and cheaply than in previous
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circumstances, in which independent music sectors have had difficulty securing their
distribution channel.
Third, this research has analysed the tendency to adopt open policies in terms of deals
and intellectual property concerns, which can foster creative freedom. Because the various
labels that participated in the interview are nonprofit, the authority to control musical works
belongs to the musicians who create the music. In addition, this open-minded approach fosters
diversified musical genres and autonomy for musicians.
Fourth, one advantage of the Internet is its accessibility, which can promote
communications and collaborations. Internet-based independent labels are well aware of this
advantage. This collaboration with seemingly unlimited resources and people stimulates the
co-creation of new values and do-it-together environments. These collaborative works have
been realised by producing compilation albums and organizing offline events. This
collaborative attitude is one of the identifiers of independent music. This research shows that
the Internet environment can offer more opportunities than the traditional environment can to
favor independent musical activities.
Fifth, the research has discussed a new intellectual property concept, Creative Common.
Intellectual property concerns have been a key issue in the music industry. In some critical
ways, however, the current intellectual property concept is outdated and irrelevant in new
technological environments. To narrow the gap between conventional intellectual property
concepts and these new environments, new concepts such as Creative Common have been
introduced. Most of the nonprofit, independent labels that participated in the interview use
this concept. On one hand, independent labels’ personnel state that this concept is a way to
spread their musical works. Others, on the other hand, argue that the concept is still in its
infancy and that the overabundance of information and available cultural works could
negatively affect independent music sectors.
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Last, the interviewees suggested how concerned they are about the music industry's
future. They predict that the Internet will produce extensive opportunities and that the market
structure will move further toward the e-commerce arena. They also suggested that sales will
be moved to a single format. It is apparent from sales figures of single formats and artists of
major labels offer luxurious box sets to provide high value and to bolster their albums' sales.
Radiohead made its recent album available on its website, and let customers decide how much
to pay for it. On the other hand, the band also produced a lucrative box set. In addition, the
Internet will nurture self-managed musicians. This also can be related to the concert and
merchandise industries' current expansion. Therefore, artists' concern in the future will be
how to expose themselves and their works. It also will be how far they can be creative and
innovative in terms of their musical works, and the strategies that can benefit them in the
Internet space.
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7. Conclusion
This research was initiated to see if past independent music experiences and aesthetics
are relevant in the Internet environment. This research shows that Internet-based independent
labels still accept aesthetics, such as the do-it-yourself mentality. In addition, these labels still
see that major labels marginalise musicians' creative freedom, and believe that this freedom
can be realised by the do-it-yourself aesthetic. However, the Internet also offers musicians
various new opportunities. Within these changing, new environments, independent labels on
the Internet have adopted different approaches in terms of policies and set up different goals
and objectives. It shows that musicians can gain autonomy to control their intellectual
properties and artistic creativity.
The Internet certainly has presented newly developed and changed circumstances to
independent music sectors in the 21st century, and the labels are passionately participating in
the new industry. Although Internet-based independent labels are still in a marginalised
position in the music industry, the whole phenomenon in which the Internet has been
introduced will expand and offer new opportunities. It is hard to say that major labels’
influence on the music industry will suddenly disappear; however it is clear that the music
industry is on the way to changing in terms of its market and business structure. This
restructuring of the music industry can spread power, which major labels currently use to
dominate the industry, to independent music scenes. However, the extent of this power shift
depends on how actively and quickly Internet-based labels or whole independent labels can
find new market needs and foster new cultural movements with creative and innovative works
and strategies.
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Appendix (Interview Materials)
The Dejunair Project (Marc Martinez and McStrum) - http://www.dejunair.com/
Attached is the document with responses -- had to edit with OpenOffice.org, hopefully the
formatting is suitable for your tools. Where there are multiple bullet points, the first answer
came from McStrum, and the second is my followup -- this way you get the perspective of the
project founder and a participant. (From Dejunair Project)
1. Why did you set up your label?
Partly because of being fortunate enough to acquire the equipment needed to get started I
wanted to make it available to other musicians and artists who might not be afforded the same
chance.
!I joined the project to gain experience with mixing, to see my ideas join with other's work
(hopefully to become greater than the sum of its parts), and as an experiment in distributed
collaboration.
2. What is your label policy in terms of releasing music?
!Keep it available in digital format for free and also not mandatory but recommended is to
share some or all of the individual tracks of material from music pieces so others can possibly
create something new and share it.
3. What policy do you have with regard to who owns the rights to the recordings you release?
It is hoped that credit will be given where due but in the end its just out there for anyone to do
with what they want. Maybe someday it will come back to us in some way but if not its just
awesome to have the technology and be able to put something we created out on the net for
millions to have access to all with just two guys handling all areas from the website design/
server admin down to recording each individual track for each song.
4. What do you think of the new approaches to owning Intellectual Property – Creative
Commons for instance?
!To much jib jab for me, I see it simply as we created this, here it is now listen to it or don't
but here it is.
!It is an unfortunate state of affairs that modern copyright law requires such elaborate
mechanisms to express the above sentiment. Perhaps I spend too much time with the Free/
Libre-Open Source Software crowd, but Intellectual Property law and concepts really give mea headache, I much prefer to just work on my code or music and pass things along to anyone
that inquires.
5. What would be benefits for musicians who work with your organisation in terms of creative
freedom, promotion and future careers?
!For creative freedom, anything goes – we are certainly willing to release alternative versions
of tracks that omit particular adaptations, and with our normal approach of including
individual instruments others are free to re-assemble in any way that suits them. There is not
very much we can offer in the way of traditional promotional handling, but it does seem
impressive how the word gets around once a few people start recycling materials. Since weare a community driven artist collective rather than a traditional publishing house, promotion
and future careers seem a bit out of place for us.
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6. Would you believe that acts might be better off on an independent label when compared
with a major?
I think it largely depends on the goals of the band in question, and is something that each act
must determine for themselves. Those who value retaining the publishing rights for their
music may have an easier time for that with an independent label. For those that wish to target
commercial radio air time, it seems like the major label is a necessary path (at least here in the
USA, situation may be different abroad). And for some, having access to higher quality studio
facilities and personnel will be a tipping point in the major's favor.
7. How you see the future of the music industry and intellectual property concepts
!I see it in a massive shift in many new directions, from napster to itunes now youtube and so
many more online avenues for artists to do huge promotional campaigns for nearly nothing
more than access to the internet (excluding music creation costs themselves).
!Hopefully the future will be stranger than I can imagine. The maze of intellectual property
handling is a large part of what drove me away from trying to make a living playing music
when I was younger. While I try to be respectful of other artists who do thrive within that
system, the prevailing concepts seem misguided to my naïve perspective.
8. Please explain the current status of your organisation and how you see the future of your
organisation
!Day to day keeping it free and open.
!For current status, things have been moving at a very halted pace for the past year, with each
of us relocating our homes and settling into new “day jobs”. One thing that seems to be
inhibiting other musicians from joining in more readily is the somewhat high bar of handling
the software side to interact with our existing process. As we both try to build up our own
studio environments, we hope to entice other locally available musicians to sit in and record,
widening the available palette for new material.
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Enough Records (Filipe Cruz) - http://enoughrecords.scene.org/
1. Why did you set up your label?
Wanted to share good or interesting music with other people, promote the work of some
friends while at it, and avoid release bureaucracies for my own projects.
2. What is your label policy in terms of releasing music?
I f i would like to listen to it again in the future, I'm willing to release it. If i think it has some
fundamental flaws which would annoy me from listening to it again i refuse the release. We
have no pre-defined aesthetic line, just our taste in music and chance of demos we receive.
3. What policy do you have with regard to who owns the rights to the recordings you release?
I can show you the terms of release which i show to every single artist:
by agreeing to release at enough you're giving us permission to distribute your music non-
profit under a creative commons license by-nc-nd
this basically means three things:
- once we include it in our catalogue we will keep providing it for free to everyone and will
refuse to stop distributing it. we'll do this always under a non-profit regime. mostly online
through direct download http/ftp servers (scene.org, archive.org) but also p2p sites (soulseek,
direct connect, torrent sites) and other media repositories / online radios (last.fm, jamendo).
we also do some occasional cdrs and dvdroms of our editions and compiled catalogue, so its
possible it'll also be included in that media, always in non profit regime.
- if you want to reuse your tracks for some other project or release of yours (commercial or
non commercial), that’s perfectly fine as long as no one will come ask us to remove the track
from our catalogue! if someone else wants to use your tracks for something, or remix it and distribute it
(commercially or uncommercialy) they need to contact you directly and ask for your
explicit permission, of course you can also choose a different cc license allowing you to
wave that right if you want, just tell us what other license you'd like to use if that’s the
case (creative commons has several other options for example) and we'll refer to it on our
release.
4. What do you think of the new approaches to owning Intellectual Property – Creative
Commons for instance?
I think it's still a flawed hack that was thrown together to fix a much deeper problem, but a
useful tool to a lot artists. A step in a better direction at least.
5. What would be benefits for musicians who work with your organisation in terms of creative
freedom, promotion and future careers?
Comparing to the archaic music industry record label model, we don’t restrict releases to what
will be more popularly accepted, we want to promote diversity and let the artists themselves
figure out where they stand in relation to their music and their listeners. We promote by
distributing the releases online (scene.org, archive.org, last.fm, vuze, soulseek), printing and
offering occasional physical editions (mostly audio cdr, and data dvdrom, but have also
already do vinyl and are planning to do cassette tapes just for the cult of it)
As for future careers, we plan to promote what gets released on our catalogue, we realize anon-profit part-time hobby can not do the same kind of marketing as the music industry but
we try to help build a listener base to our artists and support them in any way we can.
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Organizing compilations of specific genres and organizing release parties helps thrive the
local scene. We also try to support external event promoters who believe in our projects and
have assisted in organizing local festivals for alternative and experimental types of music. We
don’t ostracize popular music types but we prefer to promote non mainstream, its usually in a
worse lack of attention shape.
6. Would you believe that acts might be better off on an independent label when compared
with a major?
It largely depends on their objectives. surely a major has more capacity to promote a hit single
and take the project's image to more mainstream media. on the other hand they'll take 90% of
the earnings from your work and leave you stranded in a corner if you arent producing a
follow up garanteed hit.
Of course there are lots of grey areas between majors and indies. i think for a project to
maximize the benefits he should dwelve in both if possible, problem is that that concept
makes the project seem somewhat hypocrit so most acts go all in on the poker challenge and
hope for the best. usually the house, being the music industry, wins. neubaten, radiohead and
nine inch nails are good examples of well executed plans to seperate waters between having
to rely on the majors and the independant way to just get your work out to the people who'll
listen and pay, but they're not coming up with any new or revolutionary plans, other projects
have been doing similar things in the past, these 3 acts just happened to already have a well
established name and a large enough fan base to support the venture, most starting acts do not.
you see new projects like sellaband.com trying to take economic advantage of that current
hype, most of the projects registered in there will never make it to putting out a disc, the few
that do will most probably never be big enough names, they could've just as easily (in my
opinion atleast, others disagree) have built up their fan base support directly.
most bands accomplish this by getting their hands dirty, booking their own concerts, handling
the promotion, producing the merchandise, own investment, which is alot nicer to just
delegate to someone else to handle and rip the profits but most of the times it doesnt get done
right by the label/promoters. so in retrospect its better to get good connections to delegate the
concert booking and promo to a (or several) trusting concert promoters, and ask a friend with
an online shop to handle your merchandise for you, and so on, then to haggle with a major
over money due for these things (or with an indie who usually doenst have as much capital
and free time to invest in handling all these things properly)
so: its a complicated question, but i believe most bands are better off going solo and adhering
to random indie labels then binding themselfs for life with a major who wont nurture for them
unless they meet their quota. going solo doenst work for all projects though, some just dontcare about doing proper promotion/PR, so having a trusting manager and representative could
have a new found relevance in the indie scene again.
7. How you see the future of the music industry and intellectual property concepts
music industry will eventually collapse on itself. The business models will shift even further
to the online models of self managed artist labels using e-commerce to strive. I have no clue
what will happen with intellectual property concepts, i reckon the lobby will keep it alive but
the piracy scene is responding quite strongly against it. Personally i would like to hear
derivative work without bureaucracy involved in getting it distributed. On the other hand i
disagree of getting fame and fortune on the work of others. I find creditation of sampling andinfluences very important (much like it has been in the scientific world where a of citations
destroys your credibility and reputation) but i also believe the general public is oblivious to
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these concerns and lacks much education on what is creative work and what is recycled pop
for the masses.
8. Please explain the current status of your organisation and how you see the future of your
organisation
we started with a net radio which died out, we grew into a respectable net label trying to
promote new and established artists alike, local and foreign talent alike. We always managed
to run non profit and without resorting to spam techniques. We do our thing and hope people
will care to return once they discover us. We have co-organized festivals and compilations
with release parties, along with occasional events featuring our local artists. We been running
1 person show for over 5 years, with some assistance on printing physical editions and
organizing events.
We plan to keep doing this and recruit more assistance in organizing events, marketing /
design.
The future lies in subverting the music industry some more:
a) use the campaign against illegal download to inform people there is also quality and legal
free music available.
b) educate the victims of the organizations who illegally extort intellectual property taxes
from places which airplay music that they shouldn't be paying to play music unless the money
is guaranteed to go to the actual artists who have been air played
Ideas for restarting a net radio are also bubbling
And support even more all local events of net audio activism in any way possible.
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Fool House - http://foolhouse.fr/
1. Why did you set up your label?
Because we were doing a blog and were frustrated to just put some great tunes out in the
internet. We needed to add a bit more meaning, to extract it from the quantity and to add
something of our love to these tunes.
2. What is your label policy in terms of releasing music?
Limited edition 12 inches vinyls, no repress, photograph sleeve made especially by Gala
Collette which include herself in a self-portrait series. We also do digital packages including
extra tracks because it is a way to make the music more known, but the object are the heart of
our project.
3. What policy do you have with regard to who owns the rights to the recordings you release?
To put it simply, we share a fair percentage of the all the sales after recouping our expenses.
But we try and have the biggest liberty as possible
with the songs we release. The label is like a thematic compilation coming in several
volumes and a song released on Fool House is so to say as much a Fool House song as the
artist song.
4. What do you think of the new approaches to owning Intellectual Property – Creative
Commons for instance?
Looks fine as long as you are not aiming to get money with it.
5. What would be benefits for musicians who work with your organisation in terms of creative
freedom, promotion and future careers?
It's good for them in terms of image and promotion mostly. With 500 vinyls you can't make a
lot of money. If a release has an incredible success digitally you can make a few money.
6. How you see the future of the music industry and intellectual property concepts
I believe that music online will turn into a system in which you pay a monthly fee to be able
to stream songs in high quality with no extra charges, and that the artists will be retributed
like with radio airplay. And that physical music will return to vinyl and small structures.
7. Please explain the current status of your organisation and how you see the future of yourorganisation
We are a French association (law of 1901). We might turn into a French SARL (small
business) to propose edition deals.
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Jamendo (Laurent Kratz) - http://www.jamendo.com/en/
1. Why did you set up your label?
Jamendo is not a label. We do not ask the creators to transfer rights
to Jamendo. Jamendo is the biggest Creative Commons Licensed music community of the
world. We distribute, filter, promote Creative Commons Licensed Music and share revenues
with artists. Jamendo started early 2005 and has been funded mid 2007 by Mangrove Capital
Partner. We've manage to grow pretty well to a critical mass of 100.000 tracks, nearly 15.000
albums from 60 countries. And most important of all, the music is good! Start listening
Jamendo using our radios :http://www.jamendo.com/en/radios/
Jamendo business model is to certify the music comes from unsigned band. We sell this
certification for licensing usage "by the cut" for movies, corporate CDs, corporate websites.
In 2009, we will selling music license "by the flow". We help restaurants, bars, grocer stores,
dentists waiting rooms, hotel lobbies, and many others, to reduce the cost for commodity
music, and to avoid invoices from collecting societies like ASCAP or BMI.
2. What is your label policy in terms of releasing music?
Creators have to guarantee they represent their content, they are not encumbered by exclusive
deals like the ones with labels and collecting societies.
3. What policy do you have with regard to who owns the rights to the recordings you release?
Creators keeps the rights, but have to choose one of 6 CC licenses for public release.
4. What do you think of the new approaches to owning Intellectual Property – Creative
Commons for instance?
Jamendo is world's biggest CC music community. We are CC music on steroids.
5. What would be benefits for musicians who work with your
organisation in terms of creative freedom, promotion and future careers?
Jamendo is one of the tools ... No exclusivity. Nice exposure, some revenue, nothing to loose.
6. How you see the future of the music industry and intellectual property concepts
Pas de problème.
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Peppermill Records - http://www.peppermillrecords.com/
1.Why did you set up your label?
Partially as a Winter hobby, back in late 2004. And partially so I could take the democratic
net label Soulseek Record's idea of collaborative, sequential musical projects and evolve it,
inviting many of my favourite artists to take part.
2. What is your label policy in terms of releasing music?
Everything is freely downloadable, via a Creative Commons license. Meaning it can be
shared, but not sold or altered without our permission. We've flirted with the idea of also
selling hard copies of the albums, but in these transitional times, it's too much effort to bother,
as I do this for the fun and art of things, the business side takes the enjoyment out of running
my own label. It's a one-man operation by the way, for the most part. I like having total
control over the final product. But since so many people are involved in every release, and
I'm always open to ideas, it's not such a lonely job.
4. What do you think of the new approaches to owning Intellectual Property – Creative
Commons for instance?
I really like it. Art is a form of expression, and there's an almost unfathomable amount of
talented people out there willing to contribute their work under a CC license, for no pay at all.
I do believe that the most talented and dedicated ones should be able to make a living off their
art, and i think it'll become a bit easier to do once again in the future. But with how
technology has made music, and soon filmmaking, much easier for anyone with some amount
of creativity to create, things will never be as they used to be, even once society has become
comfortable with digital purchasing. Because it takes new techniques to filter through the
massive amount of media being promoted online. I highly approve of this new
overabundance, it's just a bit frustrating for smaller labels to cut through and let others know
what we're up to.
5. What would be benefits for musicians who work with your organisation in terms of creative
freedom, promotion and future careers?
There's a lot more artistic freedom overall. Depending on the project of course, as some have
certain limitations, time or theme-wise. But there's a benefit in that as well, as artists have
told me that, for instance, being forced to make a song from scratch in 24 hours kick-started
them out of a bout of writer's block and started them on a creative frenzy. I heard that from
more than one participant in our 30 Days album. Also, Peppermill doesn't have all the samelegal loopholes to jump through, as it's sort of a hobby/fringe label. Actually another big
benefit would be the cross-promotion. We have such a high variety of genres and anti-genres
represented, and most just contribute one short track per project, that it's a simple way to be
heard by a new audience. We're not the best for an artist looking to release an entire album of
their own, but perfectly suited to put out collaborative things.
6.Would you believe that acts might be better off on an independent label when compared
with a major?
The superstars wouldn't be better off of course, but that's such a tiny percentage of "acts"
anyhow that it's almost insignificant. Actual artists, for the most part, I think are much betteroff with independents. Or just go label-less. Although most do prefer a support system that
local label provides, interacting in person with like-minded others to perform shows with and
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tour with, and with a label can focus on creating things instead of worrying about the
promotional side. But hey, if you can get signed, why not. If you don't mind being a bit of a
tool for corporate profits, it's a good way to get exposure and make some money. Just don't let
it change who you are, and get out before it's too late. Which is a tall order, but some manage,
at least with the more specialized major-label offshoots.
7. How you see the future of the music industry and intellectual property concepts
Firstly I think people will return to a higher fidelity, and mp3's will eventually sound inferior
to most ears, as they should. Everything will be lossless audio. Vinyl will stick around in
some form, and cd's will have their retro place among very diy labels, but the industry in
general will I think embrace the digital age to a much larger extent than it already has. They'll
move farther away from "albums" I think, and focus more on "singles", packaged together in
threes, or maybe EP's. But I'm not sure about that, I hope the LP sticks around. I also think
that Creative Commons will become more accepted by the indie music scene. Labels might
go more towards a combination of free CC releases and paid releases. Which I personally find
a bit cumbersome right now, but will probably get used to if it becomes the norm. Maybe
because too many free albums are of inferior quality, and in this day when any music can be
freely previewed almost instantly, why settle for filler? I would like for some of the things
we're doing at Peppermill, and a few others are doing also, to become more common, which is
doing themed, highly conceptual musical art projects. Or at least collaborative albums of the
highest quality, given away by the label free of charge, in between the single-artist albums
that they sell. Something in that order I believe would work well, no idea though if it'll catch
on.
8. Please explain the current status of your organisation and how you see the future of your
organization?
I picture the Peppermill as growing to the point where it's recognized by most indie media as
a specialty label worth watching. We don't put out as much as most, but what we do we do
well. And with stuff coming up like these audiofilms we're starting soon, we'll start pushing
the envelope a bit more, we might never be a household name but hopefully we'll be a beacon
for lovers of adventurous melodies and rhythms.
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Proc-Records (Adam Crammond) - http://proc-records.net/
1. Why did you set up your label?
I started proc-records back in August of 2007 as a way to bring new ideas and concepts
together,
without any restrictions on the audio whatsoever (aside from it needing to fit the 'electronic'
genre in some way). Before then, I had been producing music and releasing it on other net-
labels
and I found it frustrating at times to try to base my work around their criteria.
2. What is your label policy in terms of releasing music?
Since day one, proc-records has been completely devoted to allowing artists to express
themselves as genuinely as possible. By doing so, I feel that the music is much purer and
more personal. Unlike many other net-labels who ask for specific file types and encoding
qualities (for example, 192kbps Mp3), I let the artist decide for themselves how they wish to
release THEIR work. If they feel it sounds better at a lower bitrate, they should be allowed to
release it in such a way!
3. What policy do you have with regard to who owns the rights to the recordings you release?
The work released here inherently belongs to the artists that release it with us. We are simply
a means of getting it heard by the world. Each release comes complete with it's own catalog
number, and each track is labled as being shared both by proc-records, and by the artist
themself.
If at any time the artist wishes to remove their work from us in an effort to release it on a
"major" label, they have the right to do so. People are free to download the work and to share
it with others, so long as the track file information is left completely intact. It can also be
played in nightclubs, on radio stations, and even be remixed by others, so long as complete
original credit is given to the original artist. Follow this link for more details...
http://creativecommons.org/licenses/by-nc-sa/3.0/us/
4. What do you think of the new approaches to owning Intellectual Property – Creative
Commons for instance?
In my humble opinion, this is a great way to protect the artist. For many, many years people
have been trading music to be heard by others on various formats (most notably through
cassette tape, though currently cd-r seems to the most widely accepted way), without any way
to keep it from appropriately getting "leaked" or heard by others. With the advent of theinternet, people have found a new way to get their art seen or heard by a much larger and
direct audience. Creative Commons is an excellent way (and by far the most respectful way)
of keeping the music free and and protects people on both sides of the industry, artist and
listener alike! :)
5. What would be benefits for musicians who work with your organisation in terms of creative
freedom, promotion and future careers?
Over the past year or so, proc-records has quickly become an internationally recognized
respected net-label. The main page receives an ample amount of views and downloads daily,
and the response from many people has been extremely positive. In many cases, this has beenthe most exposure a few of our artists have ever received and has helped get the creative
juices flowing (or keep flowing haha). A lot of the people who release music ,not only here
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